In spite of the three literary texts dating back over four hundred years they all give the impression of jealousy being a dominating trait. Shakespeare’s play Othello from 1603 seems to convey how the heroic figure succumbs to fatal jealousy; arguably McEwan’s 1978 novel The Cement Garden appears to present different types of jealousy involving family and romance to imply how it can lead to immorality. However, Heller’s 2003 novel Notes on a Scandal portrays jealousy in a different light, as it seemingly
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is a Moor. Othello being different from the common people of Venice is one reason for Iago to prey on Othello since he did not quite fit in with the rest. Even though Othello was a Moor, his value to the state of Venice came from his great ability in being a solider.
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In William Shakespeare's play Othello, he gives the women certain characteristics which interfere with the traditional roles of Renaissance women. One of the major causes of Othello's tragedy is his belief that Desdemona is not pure and chaste. According to the men of the Renaissance, chastity, silence, and obedience are three attributes that define Renaissance women. Although Othello takes place during the Renaissance, the women in the play, Bianca, Desdemona and Emilia, defy traditional norms by
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external onslaughts that lead to its destruction. What I am calling the 'Spenserian ' quality begins with the chivalric elements in the tragedy. Truly, Othello is a kind of Savage Knight, Desdemona, the absolutely, almost miraculously, worthy lady, and Iago, something of a manipulator like Archimago.2 But more particularl y I would call attention to a specific engagement with Spenserian rhetoric . Consider Cassio' s words of welcome to the disembarking Desdemona: Tempests themselves, high seas, and howling
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dramatize it in language and action was at their height. Othello is probably the most constructed of Shakespeare's plays. Every character is, for example, balanced by another similar, or contrasting character. Desdemona is balanced by her opposite Iago; love and concern for others at one end of the scale, hated and concern for self. The true and loyal soldier Cassio; balances the false soldier lago. These balances and contrasts throw into relief the essential qualities of the characters. Desdemona's
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In Othello, Shakespeare develops an indecisive tone through the use of dramatic irony and metaphors in order to characterize Othello as tentative. In the soliloquy, Shakespeare develops an indecisive tone by using metaphors to further characterize Othello as tentative. Shakespeare utilizes this soliloquy to employ metaphors which reveal Othello’s uncertainty after being told that Desdemona is unfaithful. The tone which is also evident within the soliloquy helps to further develop the uncertainty
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Shakespearean classic. The play is centered on the eminent jealousy of Iago (Renaldo Briggs) directed to Micahel Cassio who had been promoted by Othello (Daniel Waldron). Iago, who coveted the position as Othello’s lieutenant; weaves an intricate web of lies around the ubiquitous and notorious ‘handkerchief’ and ensnares Desdemona (Mishael Martineaux), Othello (Waldron) , Rodriego( Tevin Butler) and other actors. Ultimately Iago (Briggs) plays on the green-eyed monster within Othello (Waldron) and
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over young, wealthy, white Venetians. Interracial marriage was highly uncommon and looked down upon. This is clearly shown when Iago makes racial comments about Othello, “Even now, now, very now an old black ram is tupping your white ewe”. Iago’s use of black and white imagery degrades Othello and gives the impression that he has defiled the pure ‘white ewe’, Desdemona. Iago clearly doesn’t approve and sees the union of black and white as a bestial one. Shakespeare uses repetition (now, now, very now)
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was all too late and Othello condemned himself as "an honorable murderer, if you will/ For naught I did in hate, but all in honor" (5.2.301-303). This statement, shed light on his catharsis to the audience and brought attention to the evil schemes of Iago, and less on the transgressions of Othello. Othello serves as a witness of a high ranked individual who had a lapse of judgment in his character and his motives. For he can easily be forgiven in a blink of an eye--not out of pity, but rather for
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marriage to Desdemona; therefore the overall presentation and view over Othello is left to debate. Through Shakespeare’s use of dramatic methods, we as the audience are thrown straight into the action of scene 1,in the form of in media res; it is Iago that announces Othello to the audience as a ‘black ram’ and a ‘devil’, casting an instant doubt within their mind to the character of Othello. The connotations of the ‘ram’,as a promiscuous bestial animal and the ‘satanic’ evil imagery contrast the
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